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Updated tourdates for Jens Lekman:
03/13 - missing Link Records (in-store), melbourne (AUS)
03/14 - Republic Bar, Hobart (TAS)
03/16 - tba, Auckland (NZ)
03/17 - Odeon Lounge, Auckland (NZ)
03/18 - Happy, Wellington (NZ)
03/21 - Shibuya O-nest, Tokyo (JAP)
03/24 - Grapefruit moon, Tokyo (JAP)
07/20 - First Unitarian Church, Philadelphia, PA
07/21 - tba, New York, NY
07/22 - TT the Bear's, Boston, mA
07/24 - tba, Cleveland, OH
07/25 - Southgate House, Cincinnati, OH
07/26 - Bottleneck, Lawrence, KS
07/27 - Vaudeville mews, Des moines, IA
07/28 - Triple Rock, minneapolis, mN
07/29 - Second Story, Bloomington, IN
07/30 - Pitchfork music Festival, Chicago, IL
Check out some demo tracks from Swedish indiepop act We & Lisa: m/media.html" target=_blank>https://www.weandlisa.com/media.html
That first song kinda reminds me of early Jesus and mary Chain (that's a good thing).
Norwegian act Cloroform has posted their entire album "Cracked wide open" for free download: m.com/" target=_blank>https://cwo.cloroform.com/
Good stuff.
David & the Citizens have released two full length LPs and a handful of EPs on Sweden's Adrian Recordings. This EP, their first American release, pulls songs from these previous releases into a short and sweet collection. A few of their best numbers are here, "Now she sleeps in a box in the good soil of Denmark" is a curious sing-along song despite the dark lyrics, and "Big chill" (featuring mattias Alkberg of Bear Quartet and mattias Alkberg BD) is invigorating as all get out. "Lets not fall apart" showcases frontman David Fridlund's uncanny grasp of melody. Their songs are always an intriguing contrast between lyrics that border on suicidal despair and bouncy melodies brimming with joy. These aren't all the songs I would have picked to showcase their strengths - there are none of their slower beauties, and some of their most compelling numbers like "Song against life" (now there's a theme for a sing-along-song!) are missing, while a few of those included ("Grey coated morning," which was an early single but is hardly their best) might be better left off. All in all, though, it's a fine introduction to a wonderful band for those who don't want to spring for the full catalogue and build their own favorite song playlists.
- Nancy Baym
Two years after "...Presents the Electric Pavilion," Gustav Kjellvander has grown substantially not in only songwriting, but in performance, and his new album is proof of this (and perhaps the numerous drug references, as Avi m/index.php?story_id=928">mentioned earlier, has propelled his growth). Gone is the distorted theremin and static tracks on every song, to be replaced instead by horns and keyboards. "Radiola" finds The Fine Arts Showcase much more focused on songsmith and story and provides a more cohesive record. Lucid tracks such as "Brother in black" and the single "Chemical girl" set the listener in space, with Gustav's narrative guiding the listener through a hazed dusk. The three instrumentals on the album break it up quite well, with the introductory title track setting for the three songs to follow. "Part II" is a fitting transition between the aforementioned "Brother in black" and could-be-Electric-Pavilion track "Frida and I" (albeit if this song had appeared on the TFAS debut, it would be one of the stronger tracks). The last segue track, "Anna and the moon" is a take on "Amazing Grace" and provides a relaxing moment before the big band beat of "Spanish kerosene." Although a little on the short side (thirteen tracks in thirty-five mintues), "Radiola" is a great second record for TFAS, and thus far is one of the best new records to be released in this young year.
- Matt Giordano
This is quite a pleasant album, with some admirable songs on it. At its best, it reminds me of Wilco ("Devil when you cry"), Tom Waits ("Sweden slow"), and a mOR David & the Citizens ("Angels fable"). What I don't really like about "Sirkus" is that, unlike Jeff Tweedy, Tom Waits and David Fridlund, the singer's (Gustav) voice is way too uncharacteristic and - to be blunt - plain. I prefer a more personal touch than the Jeff Buckley-light vocals that Gustav and the Seasick Sailors offer. Other than that, this is a solid release, worth checking out if you like your singers to sing "properly".
- Simon Tagestam
I'm going to be honest with you readers: the first time I listened to this Danish duo's latest release, it scared the hell out of me and I liked it. Singer Thomas Nygaard's baritone vocals (which are slightly reminiscent of Olympia, WA's very own Calvin Johnson) and guitar work are more dark and sinister this time around as the music takes a post-punk turn. Karsten Bagge's drumming fluctuates between intense and soothing, much like Nygaard's guitar. The album starts off on a seemingly quiet note with "Life part II" and builds up very nicely during "Nightlife". "Have fun dying" just makes it that much creepier to listen to.
- Navy Keophan
For me, "Her majesty" is foremost one of my all-time favourite albums (by The Decemberists). Secondly, it's who James Bond works for. Thirdly, it's an uninteresting band out of southern Sweden whose past singles failed to impress me to such an extent that I'd rather cut off my hands just to prevent me from picking up any of their full length albums. "memory and loss" is Her majesty's third album, and perhaps they'll be third time lucky, but most likely I'm not the only one who's bored by this sleepy rock that makes The Soundtrack of Our Lives come across as the most subversive rock band on the planet. Yes, now and then Her majesty sound like if TSOOL but minus whatever TSOOL have got that makes people like them. This is nothing but average dull rock - keep it away from the kids, if not we might end up with a handless generation.
- Simon Tagestam
There's been a lot of talk about how former Popsicle front man Andreas mattsson, who after Popsicle's demise has spent some of his time writing songs for dodgy pop acts, now is going on tour with critically acclaimed 'noise artists' Tape, and how his first solo album starts with a five-minute instrumental piece (how innovative!). me, I've been a Popsicle fan as long as I can remember (thanks to my sisters), and with last year's compilation "The good side of Popsicle" my interest in them was suddenly rekindled. "The lawlessness..." is obviously a blessing then, especially since it almost sounds like a straightforward follow up to Popsicle's last album (and their masterpiece) "Stand up and testify". mattsson's voice, (sad) lyrics, and (gorgeous) melodies haven't changed that much at all – and thank god for that!
- Simon Tagestam
Their self-titled LP was one of my favorites from last year and I was expecting the same from them in their latest release. How I could have missed them twice on their tour last year is beyond me. Anyways, seven new songs, five from their "Destroy" 7-inch and four from the "Survive in the city" 7-inch release (both of which are now out of print). Early '80s punk as thrown through the L.A. buzzsaw (i.e. Germs, Black Flag, etc...) is their sound. The seven new songs, such as "Hollywood smile" and "Empty head," all have the energy of their previous releases and will keep the kids pogoing, but I feel like they're missing something. Lead singer Otto's vocals are much more snottier and snarling. The songs from the 7-inches, such as "Destroy" and "We're Blank," are more to my liking. The untitled track reminds me of Agent Orange's "Bloodstains (darkness version)", only more sped up. This is a keeper.
- Navy Keophan
Because of the hype and certain boyfriend associations, it took me some time before I caved in and bought The Concretes' first album. This time around, I don't give a damn about any hype or family relations - I just want to listen, listen, listen to this excellent album all day every day. The Concretes' debut was mighty good, now for "In colour" they've produced an album with even more melodic and stronger songs. Just like there are 'feel good films', there are of course 'feel good records' and "In colour" is precisely one of those.
- Simon Tagestam
Their website claims that the debut record from Sweden's Antennas (formerly Novak) reflects the music from the 1980s and 1990s in which they grew up, but it may well be closer to the synth pop sensibilities producer Giorgio moroder popularized in the late 1970s as he worked his way out of disco toward new wave. The ten songs on this record are built on synthetic plink-plink-plinky sounds, around which alternating conventional rock guitars, bursts of energetic drumming, and electronic distortion are juxtaposed with the organic sounds of pianos, strings, or horns. Eschewing conventional song structures, Antennas favor recurring motifs and unexpected transitions, the songs shift more than they build. Despite the variety of instruments, the sound is relatively sparse, leaving the focus on idiosyncratic vocals a listener will either adore or tire of quickly. There are a lot of interesting qualities here and some stand out tracks, but as a whole it wears thin too long before the end.
- Nancy Baym
The weather last night was far from perfect, but I still made the long drive up to Seattle to see Figurines. Kira and one of the Kindred Spirits had visa issues, so no other Danish acts made the bill though the remainder of the band was still in attendance. After a shambling, mediocre set from locals The Elephants, Figurines took the stage and did their thing. Let me tell you, that band is a well-oiled machine. They are a great example of what a tight band should sound like. After quietly opening with "Back in the day", they set into "The wonder" (today's mp3) and were off and running. Drummer Kristian Volden laid down a strong four-on-the-floor backbeat and joyfully sang along to himself with every song while frontman Christian Hjelm proved to be a manic, energetic frontman. The other two guys in the band (guitarist Claus Johansen and bassist Andreas Toft) were much more nondescript, but they did their job and did it well. I'm a little disappointed they had an extra musician on stage playing guitar, keyboard and percussion to help them perfectly replicate their album, but since he didn't distract from the overall experience, it's kind of a moot point. I feel that a rawer live sound would have benefitted them. Anyhow, it was a very good set and I think the audience appreciated it. A few of the midtempo songs dragged a bit due to the crowd's lack of familiarity with the material, but the fast songs caught their attention and the two slower numbers ("Silver ponds" and "Rivalry") were very engaging. The band plays Portland tonight, goes back to Seattle this weekend for a radio appearance and an in-store then travels to LA and SXSW. Look for them to be back this summer. my short interview with Christian should hopefully be online sometime this weekend.
Figurines - The wonder
David & The Citizens
The Fine Arts Showcase
Gustav and the Seasick Sailors
Halph
Andreas Mattsson
Antennas